Early Modern Tragedy, Gender and Performance, 1984–2000

1. Introduction: The Destined Livery? Tragedy, Performance, Subject and Spectator
Roberta Barker

Part I. Realism and Reinscription

2. What We Are, But Not What We May Be: The Feminist Ophelia and the (Re)production of Gender
Roberta Barker

3. An Actor in the Main of All: Individual and Relational Selves in The Duchess of Malfi

Roberta Barker

4. The Natural Father and the Imaginary Daughter: Patriarchy as Realism and Representation in Titus

Roberta Barker

Part II. Performance and Performativity

5. ‘Let Me Forget Myself’: What a Queen is Good For in Edward II

Roberta Barker

6. Death and the Married Maiden: Gender Reproduction as Destruction in The Broken Heart

Roberta Barker

7. Tricked Like a Bride: A New Traffic in A Woman Killed with Kindness

Roberta Barker

8. Conclusion: Cultural Drag; or, Hamlet and Ophelia Redux
Roberta Barker

Keywords: Literature, British and Irish Literature, Gender Studies, Theatre and Performance Studies, Early Modern/Renaissance Literature, Film and Television Studies